MCN Columnists
Mike Wilmington

By Mike Wilmington Wilmington@moviecitynews.com

Chicago Film Critics Association Awards 2013

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cFor 20 years, since 1993, I’ve taken part in the voting, and sometimes the awards shows, for The Chicago Film Critics Association — and I’ll be there again for the 2013 Awards.

The show, in the 1990s and  the years before I emigrated to Chicago from Los Angeles, used to be elaborate and star-studded, Then it went into a kind of limbo for a while; Now, in the last two years,  there’s been a campaign by the CFCA to make their awards celebration it a gala affair once more. If you’re in Chicago or thereabouts, you’ll have a chance to see it. (A graphic with information  is below.) Our list of 2012 winners — which interestingly doesn’t mention  Oscar favorite Argo — is below too.

 

CHICAGO FILM CRITICS ASSOCIATION AWARDS FRO 1012

BEST PICTURE

 Zero Dark Thirty

BEST ACTOR

 Daniel Day-Lewis ( Lincoln) 

 

BEST ACTRESS

 Jessica Chastain (Zero Dark Thirty) 

 

BEST SUPPORTING ACTOR

Philip Seymour Hoffman (The Master) 

 

BEST SUPPORTING ACTRESS

 Amy Adams  (The Master) 

BEST FOREIGN LANGUAGE PICTURE

Amour  

BEST DIRECTOR

Kathryn Bigelow (Zero Dark Thirty)

BEST ADAPTED SCREENPLAY

 Lincoln (Tony Kushner)

BEST ORIGINAL SCREENPLAY

Zero Dark Thirty (Mark Boam)

BEST CINEMATOGRAPHY

The Master  (Mihai Malaimare, Jr. )

BEST EDITING

Zero Dark Thirty (William Goldenberg & Dylan Tichenor)

BEST ART DIRECTION/PRODUCTION DESIGN

Moorise Kingdom (Gerald Sullivan and Adam Stockhausen)

BEST ORIGINAL SCORE

The Master (Jonny Greenwood)

BEST NONFICTION FILM

The Invisible War

BEST ANIMATED FEATURE

ParaNorman

 MOST PROMISING NEWCOMER

Quvenzhane Wallis (Beasts of the Southern Wild

MOST PROMISING FILMMAKER

Benh Zeitlin (Beasts of the Southern Wild)

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Here’s the ad and info on this year’s CFCA Awards Show. I hope you can make it.

 

THIS IS YOUR CHANCE to join “Glee” star Jane Lynch and The Chicago Film Critics Association at the CFCA’s 2013 Awards show! Don’t miss your chance to be part of Chicago’s own red carpet with the stars this Saturday!
If you can’t see the image below, view this premiere event directly online.HollywoodChicago.com Hookup for 2013 CFCA Awards

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Wilmington

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“I don’t really believe in guilty pleasures. I like to subscribe to Susan Sontag’s thought of no highs and lows. I think dismissing popular culture and popular films can be really dangerous because they may seem innocuous, but some are works of art and even when they’re not they can say so much about the culture that they’re reflecting. This also gets into the idea of canon. What is good and isn’t good? Lately, I’ve been thinking a lot about that. Specifically, who writes these canons? Mainly, straight white guys — which basically rigs the system. So, if you have a knowledge of female filmmakers, queer filmmakers, African or Asian filmmakers, some people won’t give them the same culture capital. They’ll say, “Oh, that’s nice niche knowledge.” No, it’s not. You’re just seeing it through the prism of something white and male. Like Shonda Rhimes’ ‘Scandal.’ I love that show, but is it a guilty pleasure because it’s a soap on TV? No. I think it has incredible writing, incredible thought and characters, so we should take it seriously. That’s a long-winded answer to say, “Yes, I love Titanic.” I was 10 years old when it came out and my mom took me to see it three times. I was so obsessed with it. A big thanks to my mom who’ll never get those nine hours of her life back.”
~ Toronto Int’l Programmer and Critic Kiva Reardon

“A lot of us felt blindsided,” Van Vliet told me. In the seventies, Van Vliet was drafted out of film school by Industrial Light & Magic, where he worked on The Empire Strikes Back and Raiders of the Lost Ark. Now 62 and semi-retired, he said, “Once you get into your fifties, you’re pretty disposable.” Van Vliet was in the middle of reviewing DVD screeners before casting his Oscar votes, a process he estimated would take a hundred and twenty hours. “The Academy is essentially asking us to give them three weeks of labor, and then they’re going to take our results, put them into a ceremony, and sell it,” he said, referring to the seventy-five million dollars that the organization earns from the television broadcast. “Then they’re turning around and kicking us in the teeth.”
~ “Shakeup At The Oscars”